Until the recent appearance of the Baudelaire letters (1841-66) all that we knew of Meryon’s personality and art was to be found in the monograph by Philippe Burty and Beraldi’s Les Graveurs du XIX Siecle.  Hamerton had written of the French etcher in 1875 (Etching and Etchers), and various anecdotes about his eccentric behaviour were public property.  Frederick Wedmore, in his Etching in England, did not hesitate to group Meryon’s name with Rembrandt’s and Jacquemart’s (one feels like employing the Whistlerian formula and asking:  Why drag in Jacquemart?); and to-day, after years of critical indifference, the unhappy copper-scratcher has come into his own.  You may find him mentioned in such company as Duerer, Rembrandt, and Whistler.  The man who first acclaimed him as worthy of associating with Rembrandt was the critic Charles Baudelaire; and we are indebted to him for new material dealing with the troubled life of Charles Meryon.

On January 8, 1860, Baudelaire wrote to his friend and publisher, Poulet-Malassis, that what he intends to say is worth the bother of writing.  Meryon had called, first sending a card upon which he scrawled:  “You live in a hotel the name of which doubtless attracted you because of your tastes.”  Puzzled by this cryptic introduction, the poet then noted that the address read:  Charles Baudelaire, Hotel de Thebes.  He did not stop at a hotel bearing that name, but, fancying him a Theban, Meryon took the matter for granted.  This letter was forwarded.  Meryon appeared.  His first question would have startled any but Baudelaire, who prided himself on startling others.  The etcher, looking as desperate and forlorn as in the Bracquemond etched portrait (1853), demanded news of a certain Edgar Poe.  Baudelaire responded sadly that he had not known Poe personally.  Then he was eagerly asked if he believed in the reality of this Poe.  Charles began to suspect the sanity of his visitor.  “Because,” added Meryon, “there is a society of litterateurs, very clever, very powerful, and knowing all the ropes.”  His reasons for suspecting a cabal formed against him under the guise of Poe’s name were these:  The Murders in the Rue Morgue.  “I made a design of the Morgue—­an orang-outang.  I have been often compared to a monkey.  This orang-outang assassinated two women, a mother and daughter.  Et moi aussi, j’ai assassine moralement deux femmes, la mere et sa fille.  I have always taken this story as an allusion to my misfortunes.  You, M. Baudelaire, would do me a great favour if you could find the date when Edgar Poe, supposing he was not assisted by any one, wrote his tale.  I wish to see if this date coincides with my adventures.”  After that Baudelaire knew his man.